Field Notes was commissioned by the Václav Havel Library Foundation for its 2018 “Disturbing the Peace, Award for a Courageous Writer at Risk“, presented to the Chinese author, writer, musician and poet Liao Yiwu (aka Lao Wei) on 27 September 2018 at the Bohemian National Hall in New York. Across nine loose leaves, the typewritten words and lines of the poem are dispersed, arranged among fields of regimented rows of vertical strokes, drawn on handmade Losin paper. The drawings could represent anything: a field of grain, a tower block with windows, or marks on a prison wall to count the days. The loose format of the book allows readers to arrange the drawings or compose the text in an order as they see fit, although a colophon presents the full poem in its intended order.
Kyselica’s website provides more views of Field Notes as well as views of her other artist’s books: American Colonies (2016), Code Red (Nicholas and Alexandra)(2016), News About Nothing (2015), 2×2 (2013) and untitled (2012).
What is striking about Kyselica’s works is how she combines a collage of book art techniques in each work to create a unified, unique effect.
At 79 he is still breaking fresh artistic ground. He pads through his studio, followed by his shaggy rescue dog Lola, to a table where he opens a large flat cardboard package. Inside is a horseshoe-shaped length of clay with a series of laser cut metal letters sticking out of it, like birthday candles on a cake. The letters read: “WEN OUT FOR CIGRETS N NEVER CAME BACK”. It’s funny, baffling and characteristic of an artist who says he aims for “a kind of ‘huh?’ ” effect with a lot of his work. It is also something new. Once cast in bronze it will become, Ruscha says proudly, his first sculpture.
Ben Hoyle’s easygoing interview with Ed Ruscha introduces his work as the heart of the British Museum’s exhibition “The American Dream: pop to the present” (9 March 9 to 18 June 2017). That is a bold assertion as the show included Claes Oldenburg, Jasper Johns, Andy Warhol, Roy Lichtenstein, Cy Twombly, Louise Bourgeois, Robert Rauschenberg and others recognizable to anyone who was briefly awake in a college art history class — even as long ago as the 70s. But, back then, not so much “Ed Ruscha”. Hoyle’s article – with its paragraphs’ casual packing in of news, telling descriptive detail and sharp observations (whether his or others’) of Ruscha’s art – makes a persuasive case.
Abigail Cain’s comments in Aperture on the Harry Ransom Center’s 2018 exhibition Ed Ruscha: Archaeology and Romance, which uses 150 displayed items to focus on 16 of Ruscha’s books, contextualizes Various Small Fires neatly. Quoting the Center’s photography curator Jessica S. Macdonald, Cain writes:
… lack of artistry is one of the hallmarks of Ruscha’s artist books. “The photographs of gas stations are bad photographs on purpose,” McDonald noted. “He’s trying to do the opposite of what a photographer trying to make an artistic photograph would be doing.” In a 1965 Artforum interview concerning his second book, Various Small Fires and Milk (1964), Ruscha explained that it didn’t even matter to him who took the photographs. “In fact, one of them was taken by someone else,” he said. “I went to a stock photograph place and looked for pictures of fires, there were none.”
The Albertine Workout is a collaboration between artist Kim Anno and poet Anne Carson.
Albertine is Albertine Simonet, the central love interest in Proust’s In Search of Lost Time. The Workout explores her character in text and image. The illustration above touches the biographical note that, according to Proust, the Albertine character was based on Alfred Agostinelli, sometime chauffeur and typist for Proust.
The images resting in the burgundy Solander box on Anno’s website are well worth a look. (Carson’s text not seen.)
The spectrum of modern and contemporary Artists’ Books in Reed College’s Special Collections and collected on this website include traditional letterpress printed books of poetry, conceptual book works, sculptural and visual works, concrete poetry, and magazine works. This unique collection, which holds significant 20th century and contemporary artists’ books, gives students and the broader population insight into the significant role artist’s books have played among the avant-garde of Eastern and Western Europe, Asia and the United States, from the turn of the last century to the present. This includes livre d’artiste works by David Hockney, avant-garde works by Sonia Delaunay, conceptualist works by Sol LeWitt, and contemporary works by Xu Bing.
A search of the general library catalog with the term “artists’ books collection” yields over 1700 items, not all of which are in the Special Collection. This website offers visitors an organized way to browse the collection and enjoy access to individual sites for select items as shown here:
This 18-video playlist at the Otis College of Art and Design covers a 2014 exhibition highlighting around 120 works in the Artists Book Collection. The playlist contributes to the collection’s goal:
The goal of the Otis Artists’ Book Collection is not to create a comprehensive archive, but rather to provide a valuable teaching resource available to artists and students. Since the collection is available on only a limited basis, providing access to the books via an online image database is a continuing project, one that we hope will assist those with interest in researching our collection as well as the medium in general.
Some videos are better than others, and all benefit from viewing without the background music. Having handled both Susan E. King’s Lessons from the South and J. Meejin Moon’s Absence, I can vouch for the corresponding videos’ effectiveness.
The Lessons video could be closer to the experience of handling the work if the transitional zooming were replaced with a 360 circumferential shot or angled stills to reveal more of the work’s intricacies — for example, this overhead shot taken at the old Corcoran Gallery in Washington, DC:
The Absence video comes much closer to a hands-on experience, but the exchange in the Comments section highlights how inclusion of some description by voiceover or bibliographic entry would aid viewers’ appreciation.
Vesper Von Lichtenstein 10 months ago It’s a memorial to 9/11, and the cut out parts are the Two Towers going from the top down…at the end of the book you see the placement of the two towers within the context of the rest of the buildings on a city block. The music seems a bit… upbeat for such a somber book.
Critiques aside, the playlist and site warrant multiple revisits and a thanks to Otis College.
Burtner’s whimsy seems irrepressible as is evident from this undated 100 Best Books, Abridged, composed of the first and last sentences from each of Random House Publishing’s “Best 100 Books of the 20th century” — and from her site’s motto – “Art for my sake”.
Pictured above is the back cover of dongghab, a sort of self-portrait in book art in that its content derives from events occurring in 1963, the year of the artist’s birth. The back cover is not just “another conversation” with Ed Ruscha, but one with American culture, as is the book as a whole.
Why do some books of photography lodge themselves in our minds as book art or artist’s books? Ed Ruscha’s books have done that, so much so that it seems almost odd to call them photobooks, although their deadpan presentation as such is essential to their artistic status. Why do works like Sean Kernan’s The Secret Books and Abelardo Morell’s A Book of Books defy relegation to the coffee table?
In juxtaposing his photos with text from John Lloyd Stephens, the 19th century explorer of Mesoamerica, Charles Agel positions Monuments to the Industrial Revolution (1998) as more than a book of photos. Quite a different conceptualizing strategy from the typologizing pursued from the 1970s onward by Bernd and Hilla Becher, mentioned by photographer John Pfahl in his introduction to Monuments.
Seeking the differences and similarities in strategies of composing the works as well as those of composing the photos adds to the appreciation and understanding of them.
Deep in the Bordeaux region, Diane de Bournazel creates livres d’artiste, sculptures and paintings and prints that will make you think of cave art, Hieronymus Bosch, Marc Chagall, Maurice Sendak, medieval tapestries, illuminated books and, finally, the distinctive art de Bournazel.